Time's Scores

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For 2,973 reviews, this publication has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 2.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Paterson
Lowest review score: 0 Life Itself
Score distribution:
  1. Positive: 1,806 out of 2973
  2. Mixed: 937 out of 2973
  3. Negative: 230 out of 2973
2973 movie reviews
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  1. Ballad of a Small Player
    Ballad of a Small Player is only modestly entertaining, its allure as false as the neon promise of the high-rolling city it’s set in.
  2. Blue Moon
    Blue Moon is both a modest movie and a dazzling, generous work.
  3. Springsteen: Deliver Me from Nowhere
    It often feels less than dynamic, perhaps a little inert. But then, sometimes it’s what a movie doesn’t show that matters. We all think we know the truth of Bruce Springsteen. Doesn’t he belong to us, after all? Deliver Me from Nowhere shows us another truth, the sound of a ghost captured on a length of tape.
  4. Hedda
    If you’re not already familiar with the play, you may find yourself a little lost in Hedda—or perhaps just bored.
  5. Good Fortune
    The movie's tone counts for a lot: it's silly and funny, and you never feel you're trapped in a civics lecture. Good Fortune is amiable, but it also has some bite.
  6. The Mastermind
    The Mastermind is a sneaky, undulating movie; it’s perhaps even less direct than Reichardt’s usual brand of sly, behind-the-beat filmmaking. But O’Connor’s slippery charms hold the picture steady.
  7. Urchin
    A seemingly straightforward story about an addict barely holding his life together on the streets of London, Urchin is effective because of all the things it doesn’t do: there are no grand revelations, no horrific bottoming-out or OD moments. We’re simply left alone with an addict and his feelings—or, occasionally, his seeming lack of them.
  8. Roofman
    Derek Cianfrance’s based-on-true-life caper Roofman feels like a mainstream studio movie from 10 or 15 years ago, and that’s a good thing.
  9. If I Had Legs I'd Kick You
    If I Had Legs I’d Kick You is hardly full-on punishment, and in places it’s bitterly funny. But in the end, it’s an enormous relief to walk away from Linda’s problems. Our own don’t seem so bad in comparison.
  10. A Big Bold Beautiful Journey
    Kogonada’s spiky-sweet romantic fantasy A Big Bold Beautiful Journey is a case in point: perched halfway between crowd-pleasing Hallmark romance—not a pejorative, by the way—and loo-loo surrealist experiment, it’s not quite enough of either, a movie reaching for something beyond its grasp.
  11. Him
    Over and over, Him both shows and tells, when one or the other would be enough. It’s the kind of movie that leaves you feeling indifferent rather than chilled to the bone, clobbered into numbness with good intentions.
  12. One Battle After Another
    This is a comedy with grim underpinnings, set in a society where violence seems to be the only answer. Anderson doesn’t find that exhilarating—if anything, he’s despairing about it—yet he soldiers on, pinpointing some truths so somber and dismal that it hurts to laugh about them.
  13. Downton Abbey: The Grand Finale
    Downton Abbey: The Grand Finale transports you to a time and place that seems so much more glamorous than our own, and to see it all splashed out on the big screen is almost overwhelming. It’s a genteel fantasy worth leaving the couch for.
  14. Spinal Tap II: The End Continues
    The good news is that Spinal Tap II mostly builds on the legacy of the earlier film, instead of just recycling its best jokes for nostalgia’s sake.
  15. A House of Dynamite
    The picture is precise, potent, and ingeniously constructed. But even though it focuses on the nuts and bolts of how the United States government might respond to a nuclear attack, there’s something ghostly and unreal about it too. Without spelling anything out in detail, it lays bare all sorts of global realities we don’t want to think about.
  16. The Smashing Machine
    These characters don’t always behave as we want them to; they feel lived-in, not written, with flaws and attributes that chime with things we see in our family, our friends, ourselves.
  17. After the Hunt
    [Guadagnino] has made some gorgeous, stirring movies—I Am Love and Queer among them—but After the Hunt feels more like an artistic thesis, and despite its needling provocations, it offers fewer cerebral pleasures than he thinks.
  18. Frankenstein
    The grand scale of this Frankenstein is unavoidable; what it’s lacking is intimacy.
  19. The Roses
    Cumberbatch and Colman make it all believable, their jokes pinging off one another with delightful, rancorous buoyancy.
  20. Jay Kelly
    There’s nothing overtly dislikable about the film, and there are a handful of scenes that are beautifully written, acted, and directed. But Jay Kelly feels more sentimental than truly thoughtful, particularly in the motif that resounds like a clanging bell in Jay’s brain: Why didn’t I spend more time with my kids?
  21. Bugonia
    The world isn’t pretty, and Lanthimos is sounding the alarm. If only he would tell us something we don’t already know.
  22. The Thursday Murder Club
    It’s one of those movies you watch not necessarily for its whodunnit complexities, but for the pleasure of watching a group of actors having fun, in a storybook English-countryside setting complete with happy, well-kept flower beds and cemeteries dotted with gravestones both ancient and new.
  23. Freakier Friday
    Freakier Friday is a movie that manages to humiliate everybody. And it appears to exist largely for one reason: to grift off the fondness many adults have for the original, even though the sequel has none of that picture’s breezy, observant charm.
  24. Superman
    As a character, Siegel and Shuster’s creation deserves better than Gunn’s Superman. And that’s unfortunate, because we probably need a great Superman now more than ever.
  25. Jurassic World Rebirth
    Edwards (director of 2016's Rogue One: A Star Wars Story and the 2014 Godzilla) and Koepp (who wrote the scripts for the first two Jurassic Park movies) know what they’re doing here: they locate the perfect ratio of human business to dinosaur antics, favoring the dinosaurs when in doubt.
  26. My Mom Jayne
    [Hargitay]'s unruly secrets reflect the uncomfortable truths that are so often hidden in our own histories.
  27. Sorry, Baby
    This is a sort-of comedy about personal trauma, a delicate line to walk—and Victor mostly pulls it off.
  28. 28 Years Later
    This is an ambitious picture, filled with grand ideas. Parts of it are wondrously beautiful; some sections are so mawkishly morbid they might make you groan. But at least you won’t be bored.
  29. Materialists
    Materialists is more bittersweet than sweet—which is what makes it so wonderful, in a wistful, elusive way.
  30. F1: The Movie
    It all boils down to the actor, and how good he is at vibing with universal aging-guy feelings, including the realization that your grandest achievements may be behind you. Brad Pitt, at 61, has finally aged into roles like these. And sometimes, as F1 proves, they’re the best thing that can happen to a guy.
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